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Competition  "  0.1' 
Announcement  of  the  Award. 


SIXTEEN  of  the  lists  received  in  this  com- 
petition, for  a  choice  of  the  "  Ten  Most  Beau- 
tiful Buildings  in  the  United  States,"  named 
eight  out  of  those  ten  buildings  which  re- 
ceived the  largest  number  of  votes.  No  list  in- 
cluded more  than  eight.  In  awarding  the  prizes, 
therefore,  each  building  was  given  a  value  corre- 
sponding to  the  total  number  of  votes  it  received, 
and  that  list  which  contained  those  eight  of  the 
buildings  which  had  received  the  highest  values 
was  awarded  the  First  Prize,  as  approaching  most 
nearly  to  the  consensus  of  opinions.  This  First 
Prize  list  was  submitted  by  Mr.  Jerome  Paul 
Jackson,  122  Ames  Building,  Boston,  and  is  as  fol- 
lows :  (The  buildings  marked  with  an  asterisk  (*) 
are  not  among  those  chosen  by  the  consensus.) 

Public  Library,  Boston. 

Trinity  Church,  Boston. 

United  States  Capitol,  Washington. 

Congressional  Library,  Washington. 

Columbia  University  Library,  New  York  City. 

St.  Patrick's  Cathedral,  New  York  City. 
*Corcoran  Art  Gallery,  Washington. 

Trinity  Church,  New  York  City. 

Madison  Square  Garden,  New  York  City. 
*State  Capitol,  Albany,  N.Y. 

The  Second  Prize  list,  determined  upon  by  the 
same  method,  was  submitted  by  Mr.  Edward  G. 
Henrich,  2  Claremont  Park,  Boston. 

*Corcoran  Art  Gallery,  Washington. 
St.  Patrick's  Cathedral,  New  York  City. 
Columbia  University  Library,  New  York  City. 
United  States  Capitol,  Washington. 
Trinity  Church,  Boston. 
Congressional  Library,  Washington. 


Public  Library,  Boston. 
Madison  Square  Garden,  New  York  City. 
Trinity  Church,  New  York  City. 
♦American  Surety  Building,  New  York  City. 

The  only  other  lists  which  contained  eight  of 
the  ten  buildings  named  in  the  consensus  were 
submitted  by  Messrs.  W.  W.  Bosworth,  Albert  F. 
Francis,  A.  Chapman  Fernald,  A.  S.  Keene,  E.  N. 
Bosworth,  Charles  A.  Hoag,  Harold  M.  Bowdoin, 
W.  Gedney  Beatty,  Herbert  L.  Wardner,  F.  H. 
Hutchins,  Lawrence  Park,  M.  H.  Bosworth, 
Theodore  Clark,  and  Miss  Marion  Houston. 


Notes. 


The  Detroit  Architectural  Sketch  Club  will 
hereafter  be  known  as  the  Detroit  Architectural 
Club.  The  officers  for  the  season  of  1 899-1 900 
are,  .George  H.  Ropes,  President;  H.  A.  O'Dell, 
Vice-President;  J.  A.  Gillard,  Secretary;  A. 
Blumberg,  Treasurer;  J.  W.  Case,  D.  R.  Wells, 
C.  F.  J.  Barnes.  The  energies  of  Mr.  Francis  S. 
Swales  and  his  committee  are  being  directed 
toward  preliminaries  of  the  Club  Exhibition  to 
be  held  from  April  28  to  May  12,  1900.  The 
attendance  and  interest  in  the  Club  is  increasing. 


The  Sketch  Club  of  New  York  held  its  regular 
monthly  meeting  and  "  Smoker  "  December  9,  in 
the  rooms  of  the  Architectural  League,  215  West 
57th  Street. 


In  a  letter  to  the  publishers  of  Masters  in  Art, 
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number  are  "well  chosen  and  unusually  well 
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script writes  that  "the  reproductions  are  em- 
phatically and  unquestionably  of  a  high  order  of 
merit,  and  are  printed  with  remarkable  skill," 
and  that  "the  entire  monograph  gives  evidence 
of  careful  and  studious  editorial  direction  and 
arrangement." 


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deals  with  Van  Dyck,  is  selling,  and  on  account 
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lowing paintings  by  him:  The  Pesaro  Madonna, 
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Sacred  and  Profane  Love,  The  Man  with  the 
Glove,  The  Madonna  of  the  Cherries,  Alfonso  of 
Ferrara  and  Laura  Dianti,  The  Entombment. 
The  Magdalen  Madonna  and  the  Portrait  of 
Charles  V. 

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The  Architectural  Review  for  January,  1900 

THE  Plates  of  this  number  are  from  the  work  of  COPE  &  STEWARDSON,  WILSON 
EYRE,  Jr.,  and  EDGAR  V.  SEELER  of  Philadelphia  and  PALMER  &  HORNBOSTEL 
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house  in  New  York  City  by  Palmer  &  Hornbostel. 

The  text  has  a  critical  description  of  the  T-Square  Club  exhibition  in  Philadelphia  with  twenty 
illustrations,  a  continuation  of  the  series  of  articles  by  C.  Howard  Walker  upon  the  Theory  of 

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T  H  E 

Brochure  Series 

OF  ARCHITECTURAL  ILLUSTRATION. 


1 900. 


FANUARY 


No.  1 


THE  TEN 

MOST  BEAUTIFUL  BUILDINGS 
IN  THE  UNITED  STATES. 


DURING  the  Autumn  of  the  past  year 
a  voting  contest  was  proposed  to  the 
readers  of  The  Brochure  Series 
with  the  object  of  determining  by 
the  consensus  of  votes,  which,  in  their  opin- 
ion, were  the  Ten  Most  Beautiful  Build- 
ings now  existing  in  the  United  States. 
The  only  condition  imposed  was  that  no 
reader  should  enter  more  than  one  list.  A 
lively  interest  was  taken  in  the  contest, 
and  over  two  hundred  votes  were  received, 
—  the  voters  being  almost  entirely  either 
architects  or  professed  students  of  archi- 
tecture. 

The  following  ten  buildings,  named  in 
the  order  of  preference,  are  those  which 
received  the  greatest  number  of  votes  in 
this  contest ;  and  the  appended  percentages 
show  approximately  what  proportion  of  the 
total  number  of  votes  each  received :  — 

I.  National  Capitol,  Washington.  Hallet, 
Thornton,  Hadfield,  Hoban,  Latrobe,  Bulfinch,  Walter 
and  Clark,  Architects.    About  99%. 

II.  Boston  Public  Library,  Boston.  McKim, 
Mead  &  White,  Architects.    About  97%. 


III.  Trinity  Church,  Boston.  Cambrel  &  Rich- 
ardson, Architects.    About  96%. 

IV.  Congressional  Library,  Washington. 
Smithmeyer,  Peltz   and    Edward   P.    Casey,  Architects. 


About 


7570- 


V.  Columbia  University  Library,  New  York 
City.     McKim,   Mead    &   White,   Architects.  About 

70%. 

VI.  Trinity  Church,  New  York:  City.  Richard 
Upjohn,  Architect.    About  55%. 

VII.  Madison  Square  Garden,  New  York  City. 
McKim,  Mead  &  White,  Architects.    About  45%. 

VIII.  St.  Patrick's  Cathedral,  New  York  City. 
James  Renwick,  Architect.   About  35%. 

IX.  "  Biltmore  House,"  Biltmore,  N.C.  R.  M. 
Hunt,  Architect.    About  29%. 

X.  City  Hall,  New  York  City.  Mangin  and 
Macomb,  Architects.    About  29%. 

In  the  article  which  follows,  Prof.  A.  D. 
F.  Hamlin  comments  upon  the  above  list, 
and  draws  some  interesting  conclusions 
from  the  comparison  of  it  with  a  similar 
list,  compiled  fifteen  years  ago  in  the  same 
way  by  the  readers  of  The  American  Ar- 
chitect. The  announcement  of  the  award 
of  the  prizes  in  this  Competition  will  be 
found  on  the  publishers'  page  of  this  issue. 


NATIONAL  CAPITOL 


WASHINGTON 


T  H  E    I!  R  (>  C  H  U  R  E     S  R  R  I  KS 


THIi  TEN  MOST  BEAUTIFUL  BUILDINOS. 


A     DISCUSSION    OF    T  II  E    V  ( >  T  E     B  V 
A.    I).    F.   I  (AM  LI  X, 


hhssok        aki  in  i  ki  it 


SITY  ;   Al'THOU  OF  "  HAMLIN  S   HISTORY  OK  A  RC HITKCTt ' K 1 


A FINAL  and  absolute  verdict  upon  the 
relative  merits  of  works  of  art  is  in 
most  cases  an  impossibility.  Since 
there  is  no  such  thing  as  an  absolute 
objective  standard  of  comparison  for  all 
works  of  a  given  class,  the  personal  equa- 
tion and  the  time  equation  must  always 
enter  largely  into  critical  estimates  by 
individuals  or  groups  of  individuals.  Least 
of  all  are  we  likely  to  pass  correct  judg- 
ments on  contemporary  works,  because  we 
measure  them  wholly  or  mainly  by  the 
dominant  taste  or  fashion  of  our  time, 
instead  of  by  that  larger  experience  and 
more  impartial  judgment  which  comes 
with  the  lapse  of  decades  and  centuries. 
When,  however,  a  large  number  of  intelli- 
gent and  presumably  competent  critics  are 
found  in  agreement  as  to  the  merits  or 
defects  of  a  given  work,  it  is  safe  to  con- 
clude that  there  is  some  ground  for  the 
verdict;  and  when  the  agreement  extends 
to  a  number  of  buildings  (in  the  verdict 
about  to  be  discussed  we  are  dealing  with 
buildings)  it  is  reasonable  to  draw  definite 
inferences  as  to  the  grounds  of  the  agree- 
ment, both  in  relation  to  the  works  so 
judged  and  in  relation  to  the  view-point 
and  taste  of  those  who  have  pronounced 
the  opinion. 

Of  course  in  such  a  vote  as  that  by  The 
Brochure   readers   on    the  "Ten  most 


Beautiful  Buildings  in  the  United  States," 
the  result  can  only  be  a  composite,  —  a 
consensus  reached  by  the  fusing  together 
and  averaging  of  a  great  number  of  widely 
diverse  estimates.  The  very  terms  of  the 
vote  will  be  variously  interpreted  accord- 
ing as  the  expression  "the  most  beautiful 
building  "  is  made  to  apply  to  the  exterior 
alone,  or  to  the  plan,  the  decorative  detail, 
the  scale,  or  other  elements  of  architectural 
design,  or  to  include  all;  and  according  to 
the  varying  values  assigned  to  dignity, 
simplicity,  richness,  grandeur,  refinement, 
and  other  qualities,  by  the  several  voters. 
But,  having  made  all  these  allowances, 
there  is  much  instruction  and  suggestion  in 
the  vote,  both  as  to  the  tendencies  of 
taste  among  the  constituency  of  The 
Brochure  Series,  and  as  to  the  progress 
and  tendencies  of  American  architecture, 
especially  in  the  light  of  the  vote  of  1885  in 
The  A  merican  A  rchitect. 

As  a  preface  to  the  comments  about  to 
be  made  on  these  tendencies,  it  is  in  order 
to  present  a  few  statistics  with  regard  to 
the  vote  and  the  buildings  voted  on.  In 
these  I  shall  call  the  Brochure's  list  of  the 
ten  buildings  receiving  the  highest  number 
of  votes  the  ' '  First "  list ;  the  supplementary 
list  of  the  ten  coming  next  in  popularity, 
the  "Second"  list,  and  that  published  in 
The  American    Architect   in   1885,  the 


NATIONAL  CAPITOL 


WASHINGTON 


T  II  E    B  R  O  C  II  V  R  E    S  E  R  I  E  S 


"  1SS5  "  list.  (The  "Second"  and  the 
"  1885  "  lists  are  printed  on  page  17.) 

A  comparison  of  the  styles  represented 
in  these  three  lists  is  interesting,  after 
making  all  allowances  for  doubtful  classi- 
fications of  some  of  the  examples. 

I.  («)  Renaissance  Group  : 


[885." 


Classic  .... 
French  .... 
Italian  .... 
Spanish  .  .  . 
Modern  American 

Mediaeval  Group  : 
Romanesque  .  . 
Gothic  .... 


The  percentages  of  the  total  number  of 
votes  won  by  buildings  in  the  different 
styles  in  the  "  First  "  list  were  as  follows: 

Classic   16.9 

French   15.6 

Italian   12.0 

Romanesque   9.6 

Gothic   9.0 

63-1 

These  percentages  are  only  approximate, 
and  the  apportionment  would  vary  with  a 
different  classification;  but  they  show,  in 
a  rough  way,  that  the  ten  buildings  rank- 
ing highest  received  about  63  per  cent  of 
all  the  votes,  and  that  the  seven  in  the 
Renaissance  group  obtained  44.5  percent 
of  all  the  votes. 

Comparing  next  the  classes  of  buildings 
represented,  we  have  this  result: 

"  FIRST."  "  SECOND."  "  1885." 

II.    Government  Buildings,  236 

Churches   3  o  2 

Libraries   3  o  o 

Museums   c  2  o 


Club  Houses  .    .    .  . 

Hotels  

Private  Houses  .  .  . 
Amusement  Buildings 
Commercial  Buildings 
Educational    .    .    .  . 


Comparing 
tion,  we  have: 


the   geographical  distribu- 


TRINITY  CHURCH 


T  HE    BR  ()  C  H  U  R  E    S  E  R  I  E  S 


9 


SECOND. 
4 


III.  New  York  City 
Washington 
Boston   .    .  . 
Hiltmore,  N.C. 
Chicago  .    .  • 
Albany  .    .  . 
St.  Augustine 
Pittsburgh  .  . 
Hartford     .  . 
Cambridge 
North  Easton  . 


Of  the  ten  buildings  in  the  "  1SS5 
but  three  appear  in  the  "  First  "  list, 


1885. 
3 


list 
and 


TRINITY  CHURCH,  TOWER  BOSTON 

two  in  the  "  Second"  ;  so  that  only  five  of 
the  ten  buildings  adjudged  in  1SS5  to  be 
the  most  beautiful  in  the  United  States 
are  included  in  the  twenty  given  the  leading 
rank  in  1S99  by  the  Brochure  readers. 
Of  these  twenty,  six  in  the  "  First  "  list  and 
five  in  the  "Second"  have  been  built 
since  the  1SS5  vote.  Of  the  remaining 
four  in  the  "  First  "  list,  three,  as  we  have 
seen,  figure  in  that  of  1SS5  "  ;  the  fourth 
—  the  New  York  City  Hall  —  was  not  in 
1885  considered  worthy  of  a  place  among 
the  ten  —  a  significant  suggestion  as  to 
changing  tastes  since  that  date. 

The  first  and  most  obvious  conclusion  to 
be  drawn  from  the  above  statistics  is  that 
American  architects,  so  far  as  they  are 
represented  in  the  Brochure  vote,  have 
no  hide-bound  traditions  or  ingrained 
prejudices  as  to  style.  There  is  in  the  list 
selected  by  them  a  preponderance,  it  is 
true,  of  buildings  in  the  various  styles  of 
the  Renaissance  and  Classic  Revival  — 
seven  out  of  ten.  But  the  third  in  the  list, 
with  96  per  cent  of  unanimity  in  its  favor,  is 
a  Romanesque  building.  Trinity  Church. 
Boston.  Two  others,  standing  sixth  and 
eighth,  are  Gothic. —  Trinity  and  St.  Pat- 
rick's Churches  in  New  York.    The  remain- 


ing seven,  although  they  may  all  be  included 
under  a  broad  extension  of  the  term  "  Re- 
naissance," exhibit  wide  divergencies  of 
style.  The  Capitol  at  Washington  and  the 
Columbia  Library  represent  two  different 
phases  of  the  Classic  Revival,  nearly  a  cen- 
tury apart  in  date;  the  New  York  City 
Hall,  a  version  of  the  style  of  Louis  XVI. 
The  Boston  Public  Library  was  avowedly 
inspired  from  the  "neo-Grec"  Biblio- 
theque  St.  Genevieve  of  Labrouste,  as  far 
as  its  facades  are  concerned,  and  yet  differs 
from  that  building  more  than  it  resembles 
it;  and  although,  in  the  foregoing  tables, 
both  this  and  the  Biltmore  mansion  are 
classified  as  in  the  French  Renaissance 
style,  they  are  really  much  farther  apart 
than  the  classic  Capitol  and  the  Louis 
Seize  City  Hall.  The  Congressional  Li- 
brary follows  Italian  rather  than  French 
precedents,  and  the  Madison  Square  Gar- 
den suggests  both  Italian  and  Spanish  pro- 
totypes. Evidently  our  architects  are  not 
bound  by  allegiance  to  any  one  style  or 
kind  of  beauty,  but  are  ready  to  find  sub- 
jects for  admiration  in  buildings  of  the 
most  diverse  character,  and  to  recognize 
beauty  alike  in  pointed  and  round  arches, 
in  domes  and  in  spires,  in  acanthus  leaves 
and  crockets,  in  new  buildings  and  in  old. 
This  catholicity  of  taste  is  interesting 
and  on  the  whole  hopeful,  for  it  suggests 
the  ability  and  readiness  to  appreciate 
realities  instead  of  names,  style  rather 
than  any  particular  historic  dress,  essen- 
tials rather  than  externals;  —  an  eclecti- 
cism which  recognizes  beauty,  quality, 
excellence,  wherever  they  can  be  found, 
and  adopts  what  is  best  without  regard  to 
names  or  categories.  And  if  we  consider 
the  buildings  themselves,  instead  of  the 
motives  of  the  voters,  the  same  statistics 
indicate,  as  we  might  expect,  a  like  catho- 
licity of  taste  in  the  designs  of  recent 
American  buildings,  and  —  what  is  more 
to  the  point  —  a  conspicuous  measure  of 
success  in  fusing  together  and  adapting  to 
modern  American  needs  the  multifarious 


NEW  PORCH,  TRINITY  CHURCH  BOSTON 

suggestions  of  the  "historic  styles,"  so 
that  the  results  are  neither  copies  nor 
patchwork,  but  consistent,  intelligent  and 
harmonious  units. 

Taking  next  the  second  comparative 
table,  we  find  that  in  the  "First"  and 


THE    BROCHL'R  E    S  E  R  I  E  S 


"Second  "  lists  taken  together,  20  per  cent 
oi  the  names  are  those  of  government  or 
administrative  buildings;  15  per  cent  are 
churches,  with  the  same  number  of  libra- 
ries (three  of  each,  all  on  the  "  First "  list). 
There  are  two  each  of  museums,  club 
houses  and  private  residences;  and  one- 
each  of  office  buildings,  hotels,  and  amuse- 
ment houses.  Here  again  we  encounter 
the  same  breadth  of  judgment  as  in  the 
first  comparison.  The  Brochure  readers, 
and  presumably  our  architects  generally, 
are  willing  to  discover  beauty  alike  in  pub- 
lic, private,  religious,  and  commercial  archi- 
tecture. 

It  is  a  significant  fact  that  churches  and  li- 
braries constitute  60  per  cent  of  the  "First" 
list,  and  that  there  is  but  one  residence,  and 
not  a  single  commercial  edifice  among  the 
ten  buildings  it  enumerates.  Apparently 
it  is  religion  and  education  which  inspire 
and  call  forth  the  highest  results  in  archi- 
tecture, rather  than  the  private  and  com- 
mercial luxury  of  which  we  hear  so  much 
in  these  days.  If  to  these  sources  of  archi- 
tectural inspiration  we  add  that  of  civil 
government,  it  appears  that  we  owe  80  per 
cent  of  the  "  First  "  list  to  government, 
religion  and  education — -the  three  highest 
activities  of  the  community.  This  is  not 
merely  due  to  the  fact  that  the  architect- 
ural requirements  of  churches  and  civic 
buildings  are  such  as  favor  monumental 
results ;  for  both  in  size  and  cost,  and  hence 
in  the  opportunity  for  an  ample  and 
sumptuous  architectural  treatment,  these 
are  often  surpassed  by  banking  and  office 
buildings,  private  palaces  and  rich  men's 
clubs.  The  presence  of  three  truly  mag- 
nificent public  libraries  of  recent  erection 
in  the  "First"  list  seems  to  me  particu- 
larly encouraging,  as  a  symptom  of  the 
extent  to  which  the  wealth  of  the  country- 
is  being  devoted  to  the  higher  interests  of 
the  people,  and  at  the  same  time  to  the 
promotion  of  high  art.  That  this  is  a  cor- 
rect symptom,  is  confirmed  by  such  build- 
ings, erected  or  about  to  be  erected,  as  the 
Chicago  Library,  the  magnificent  New 
York  Public  Library,  the  new  libraries  at 
Milwaukee,  Providence,  Newark,  N.J., 
Jersey  City,  and  Washington;  by  the 
Art  Museum  at  Chicago,  the  Corcoran 
Gallery  at  Washington,  the  new  wing  to 
the  Metropolitan  Museum  at  New  York, 
the  Phebe  Hearst  competition  for  the  Uni- 
versity of  California,  and  other  like  enter- 
prises. The  most  important  architectural 
enterprises  in  New  York  today  are  the 
Cathedral  of  St.  John  the  Divine  and  the 
vast  palace  of  the  Brooklyn  Institute,  of 
which  a  new  wing  is  about  to  be  erected. 
Evidently  our  art  has  not  fallen  wholly  a 
prey  to  commercialism  and  private  luxury. 

The  geographical  distribution  of  the 
buildings  chosen  is  interesting.  In  1SS5 
but  three  out  of  ten  were  in  New  York 
City,  and  Albany  stood  ahead  of  Boston. 
In  the  "First"  list  New  York  has  one- 
half  of  the  ten,  and  in  the  "  First  "  and 
"  Second  "  lists,  jointly,  nine  out  of  twenty 


buildings.  Boston  and  Washington  divide 
the  second  place,  with  two  each  on  the 
"First"  list.  In  the  two  lists  together 
there  are  nine  cities  and  towns  represented, 
of  which  five  are  in  the  northeastern  states, 
with  fourteen  out  of  twenty  buildings;  one 
in  the  nearer  west  (Chicago) ;  and  three  in 
the  south  (if  we  include  Washington 
among  southern  cities).  Of  course  the 
fact  that  New  York,  Boston  and  Washing- 
ton are  old  cities,  as  cities  go  among  us, 
counts  for  much  in  the  way  of  maturity  of 
civilization  and  accumulation  of  architect- 
ural resources;  and  it  is  only  natural  that 
the  wealthiest  city  in  the  New  World 
should  possess  the  greatest  number  of 
important  buildings.  But  it  is  also  very 
possible  that  the  majority  of  the  Bro- 
chure readers  are  in  the  northern  and 
eastern  states,  and  therefore  more  familiar 
with  eastern  and  northern  than  with  south- 
ern and  western  buildings.  Allowing  for 
this,  they  may  draw  their  own  conclusions 
from  this  table. 

If  now,  we  turn  to  inquire  what  are  the 
qualities  which  have  won  for  these  build- 
ings a  place  on  this  list,  and  to  what  ten- 
dencies, either  of  progress  or  retrogression, 
do  the  votes  point,  two  facts  stand  out 
very  clearly.  The  first  is,  that  each  of  the 
ten  buildings,  whatever  its  style  or  pur- 
pose, represents  a  conception  clearly 
thought  out,  simply  and  forcibly  expressed, 
and  treated  with  monumental  dignity, 
quite  irrespectively  of  the  amount  or  rich- 
ness of  its  decoration.  The  second  is,  that 
there  has  in  recent  years  been  a  notable 
advance  in  all  that  concerns  the  interior 
decoration  of  important  buildings.  In 
1877  Trinity  Church  in  Boston  stood  alone 
as  an  example  of  really  high  art  in  interior 
decoration.  The  three  most  recent  build- 
ings on  the  list  —  all  three  by  the  way, 


CONGRESSIONAL  LIBRARY,  APPROACH  WASHINGTON 


PLATE    V  I 


T  R  I  N  I  T  Y    CHURCH,    N  E  W    Y  O  R  K  CITY 


T  H  E    BROCHURE    SKRI  E  S 


13 


public  libraries  —  are  conspicuous  instances 
of  the  sumptuous  and  dignified  treatment 
of  interior  design,  with  the  help  of  all  the 
resources  of  decorative  art ;  and  here 
again,  other  buildings  now  being  erected 
or  about  to  be  built  confirm  this  conclu- 
sion, that  our  architects  and  the  public  are 
beginning  to  appreciate  the  importance 
both  of  the  interior  design  of  a  building 
and  of  the  collaboration  of  all  the  arts, — 
as  for  instance,  in  the  new  Apellate  Court 
in  New  York. 

Comparing  the  list  of  1899  with  that  of 
1S85,  the  progress  of  our  national  architect- 
ure in  fourteen  years  becomes  very  evi- 
dent. The  United  States  Capitol  and  the 
Trinity  Churches  in  New  York  and  Boston 
are  the  only  buildings  common  to  both  lists. 
Six  of  the  buildings  on  the  Brochure  list 
were,  in  1S85,  either  incomplete  or  not  yet 
begun:  these  are  the  Boston,  Congres- 
sional and  Columbia  Libraries,  the  Madison 
Square  Garden,  St.  Patrick's  Cathedral  and 
the  Biltmore  residence.  The  Cathedral, 
however,  wanted  only  its  spires;  but  its 
appearance  on  the  Brochure  list  is 
undoubtedly  due  to  the  spires  more  than 
any  other  element  in  its  design.  In  1885 
Mr.  H.  H.  Richardson  was  the  one  bright 
and  particular  star  on  the  architectural 
horizon  in  the  United  States:  one-half  of 
the  "  1885  "  list  of  buildings  were  his  work. 
Only  one  of  these  remains  on  the  new 
list,  —  Trinity  Church  in  Boston,  doubtless 
on  the  whole  his  greatest  work.  The  style 
which  he  made  his  own,  and  which  was 
then  at  the  height  of  popular  favor,  borne 
on  the  wave  of  admiration  for  the  real 
strength  and  originality  of  his  works,  has 
waned,  as  all  fashions  must  wane  which  are 
not  the  result  of  a  spontaneous  movement 
of  taste,  but  ride  into  favor  on  the  back 
of  some  passing  whim  or  on  the  merit  of 
the  achievements  of  some  one  person  or 
coterie.  No  architectural  period  can  be 
truly  great  that  depends  upon  one  man  or 
set  of  men  for  its  great  works. 

It  is  perhaps  not  amiss  to  say  a  few  words 
regarding  buildings  of  secondary  merit  and 
of  minor  importance  in  cost  and  size. 
These  may  be  as  significant  criteria  of 
architectural  taste  and  progress  as  those 
most  conspicuous  for  grandeur  and  beauty. 
It  is  quite  possible  for  the  architectural 
energy  of  one  place  or  period  to  be  con- 
centrated on  a  small  number  of  great 
works,  and  for  an  equal  amount  of  energy 
and  ability  in  another  place  or  period  to  be 
expended  on  a  larger  number  of  less  impor- 
tant buildings.  The  average  quality  of 
our  architecture,  and  the  quality  of  our 
ordinary  every-day  architecture,  are  per- 
haps as  important  as  that  of  the  ten  most 
beautiful  buildings ;  and  the  fact  that  the 
west  and  south  have  so  small  a  representa- 
tion in  the  Brochure  lists  by  no  means 
argues  a  corresponding  deficiency  of  good 
architecture.  Yet  after  all,  when  all  is 
said,  the  great  and  noble  buildings,  the 
highest  and  grandest  triumphs  of  archi- 
tecture are  the  only  ones  which  profoundly 


affect  the  imaginations  and  kindle  the 
artistic  aspirations  of  men;  and  when  a 
community  becomes  so  pervaded  with  the 
artistic  spirit  that  works  of  art  furnish  the 
readiest,  most  natural  and  complete  expres- 
sion of  its  ideals  and  enthusiasms,  great 
works  will  result  whenever  there  are  enthu- 
siasms and  ideals  worthy  of  monumental 
expression.  From  this  point  of  view  the 
Columbian  and  Omaha  Expositions,  and 
the  New  York  Naval  Arch  of  Triumph  — 
which,  owing  to  their  transitory  and  tem- 
porary character,  no  doubt,  have  found  no 
place  on  the  Brochure  lists — seem  to 
me  in  the  highest  degree  significant  and 
encouraging.  And  the  public  libraries,  St. 
John's  Cathedral  and  the  Phebe  Hearst 
competition  are  further  evidence  in  the 
same  direction. 

A  word  might  also  be  said  for  certain 
buildings  which  found  no  place  on  either 
the  "  First  "  or  "  Second  "  list,  but  which 
competent  critics  might  assign  to  one  or 
the  other  list  in  preference  to  some  that 
appear  on  them.  There  is  for  instance, 
Mr.  Richardson's  Woburn  Library,  which 
some  consider  his  most  beautiful  work  next 
to  Trinity  Church  ;  the  new  State  Capitols 
of  Minnesota  and  Rhode  Island  (the  latter 
not  quite  finished) ;  the  Treasury  Building 
and  White  House  at  Washington ;  the 
Temple  Emmanuel;  the  Metropolitan  Life 
Building;  Metropolitan  Club  and  Cornelius 
Yanderbilt's  residence  in  New  York ;  the 
University  group  at  Charlottesville,  Ya.  ; 
the  Omaha  Exposition  and  the  Dewey  Arch. 

But  the  task  assigned  me  was  the  discus- 
sion of  the  Brochure  lists,  not  of  other 
possible  lists ;  and  I  close  with  the  sugges- 
tion that  a  vote  every  ten  or  every  five 
years  would  afford  a  most  valuable  and 
interesting  gauge  of  the  movements  of 
taste  and  of  the  progress  of  architecture  in 
the  United  States. 


MADISON  SQUARE  GARDEN  NEW  YORK  CITY 


PLATE  VII 


MADISON    SOU  A  RE    GARDEN,    NEW    YORK    C  I  T  Y 


T  II  E    I)  ROC  H  U  R  E    S  E  R  I  E  S 


MADISON  SQUARE  GARDEN  NEW  YORK  CITY 


THE  following  list  names,  in  order  of 
preference,  those  ten  buildings  which 
received  the  highest  number  of  votes 
after  the  first  ten  named  in  the  list  given 
on  page  3. 

I.  Corcoran  Art  Gallery,  Washington,  D.C. 
Ernest  Flagg,  Architect. 

II.  House  of  W.  K.  Vanderbilt,  New  York 
City.    Richard  M.  Hunt,  Architect. 

III.  Fine  Arts  Building,  Chicago,  III.  Charles 
B.  Atwood,  Architect. 

IV.  New  York  State  Capitol,  Albany,  N.Y. 
H.  H.  Richardson  and  others,  Architects. 

V.  Hotel  Ponce  de  Leon,  St.  Augustine,  Fla. 
Messrs.  Carrere  and  Hastings,  Architects. 

VI.  Court  House  and  Jail,  Pittsburg,  Pa.  H. 
H.  Richardson,  Architect. 

VII.  Century  Club,  New  York  City.  McKim, 
Mead  &  White,  Architects. 

VIII.  State  Capitol,  Hartford,  Conn.  H.  H. 
Richardson,  Architect. 

IX.  American  Surety  Building,  New  York  City. 
Bruce  Price,  Architect. 

X.  Uniyersity  Club,  New  York  City.  McKim, 
Mead  &;  White,  Architects. 


In  1S85,  fourteen  years  ago,  the  readers 
of  The  American  Architect  (Boston)  were 
invited  to  name,  by  a  consensus  of  votes, 
their  choice  of  the  then  most  beautiful 
buildings  in  America.  The  voting  resulted 
in  a  list  of  the  following  ten  buildings:  — 

I.  Trinity  Church,  Boston.  Gambrill  &  Rich- 
ardson, Architects. 

II.  United  States  Capitol,  Washington,  D.C. 
Hallet,  Thornton,  Hadfield,  Hoban,  Latrobe,  Bulfinch, 
Walter  and  Clark,  Architects. 

III.  House  of  W.  K.  Vanderbilt,  New  York. 
R.  M.  Hunt,  Architect. 

IV.  Trinity  Church,  New  York.  Richard  Up- 
john, Architect. 


V.  Jefferson  Marke  t  Court-House,  New  York. 
F.  C.  Withers,  Architect. 

VI.  State  Capitol,  Hartford,  Conn.  Richard 
Upjohn,  Architect. 

VII.  City  Hall,  Albany,  N.Y.  H.  H.  Richardson, 
Architect. 

VIII.  Sever  Hall,  Cambridge,  Mass.  H.H.Rich- 
ardson, Architect. 

IX.  State  Capitol,  Albany,  N.Y.  H.  H.  Rich- 
ardson and  others,  Architects. 

X.  Town  Hall,  North  Easton,  Mass.  H.  H. 
Richardson,  Architect. 


THE  Capitol  at  Washington  is  751  feet  in  length 
and  121  to  324  feet  wide,  consisting  of  a  main 
edifice  of  sandstone,  painted  white,  and  of  two 
wings  of  white  marble,  and  covers  an  area  of  3^  acres. 
The  site  was  selected  by  a  French  engineer,  Peter 
Charles  L'Enfant  in  1791,  and  the  design  for  the  first  build- 
ing—  a  compromise  between  the  plans  of  Stephen  Hallet 
and  Dr.  William  Thornton, —  was  chosen  by  competition 
in  1792.  In  1795  George  Hadfield  was  placed  in  charge  of 
the  work,  and  was  succeeded  in  1798  by  James  Hoban, 
neither  of  whom  made  important  changes  in  Thornton's 
designs.  In  1814  the  building  consisted  of  two  small  wings 
connected  by  a  wooden  bridge;  and  in  that  year  the 
structure  was  damaged  by  fire  set  by  the  British.  Benjamin 
Henry  Latrobe,  who  was  appointed  in  1803,  continued  in 
charge  until  1817,  when  he  resigned,  turning  over  his  post 
and  plans  to  Charles  Bulfinch  of  Boston, —  the  first  Ameri- 
can-born architect  of  the  Capitol.  Bulfinch  completed  the 
central  structure,  and  crowned  it  with  the  original  low 
dome.  In  1828  the  old  capitol  was  substantially  completed, 
and  the  office  of  architect  abolished.  In  1843,  it  being 
necessary  to  enlarge  the  former  structure,  plans  were 
advertised  for,  and  in  1850  those  of  T.  U.  Walter  of  Phila- 
delphia were  accepted.  The  additions  made  the  old  dome 
look  insignificant,  and  Walter  designed  the  present  one, 
which  was  completed  in  1863.  The  terraces  and  the  ap- 
proaches, begun  in  1882,  are  the  work  of  Edward  Clark. 

The  Boston  Public  Library,  begun  in  1888,  was  com- 
pleted in  1895.  The  building  is  225  feet  long,  227  feet  deep, 
and  70  feet  in  height  from  the  sidewalk  to  the  top  of  the 
cornice.  The  material  of  which  the  exterior  is  constructed 
is  grayish-white  Milford  granite.    Although  the  architects 


MADISON  SQUARE  GARDEN,  DETAIL  NEW  YORK  CITY 


PLATE  VIII 


ST.    PATRICK'S     CATHEDRAL,    NEW    YORK    C  I  T  Y 


T H  E    BROCH U  R  E    S  E R  1  E  S 


st.  Patrick's  cathedral  new  york  city 


of  this  building  were  officially  the  firm  of  Messrs.  McKim, 
Mead  &  White  of  New  York  City,  the  senior  member,  Mr. 
McKim,  was  the  actual  architect. 

Charles  Follen  McKim  was  born  in  Pennsylvania  in 
1847.  He  studied  at  the  Harvard  Scientific  School,  in  a 
New  York  architect's  office,  and  in  a  Parisian  atelier  con- 
nected with  the  Ecole  des  Beaux-Arts. 

William  Rutherford  Mead  was  born  in  Brattleboro,  Vt., 
in  1846,  and  graduated  from  Amherst  College  in  1867.  For 
some  years  he  studied  in  an  architect's  office  in  New  York, 
and  then  went  to  Paris,  studying  there  and  elsewhere  in 
Europe. 

Stanford  White  was  born  in  New  York  City  in  1853. 
He  grew  up  in  the  office  of  Gambrill  &  Richardson,  and 
between  1878  and  1880  studied  in  Europe.  The  present 
firm  of  McKim,  Mead  &  White  was  formed  in  1880. 

Trinity  Church,  Boston,  Henry  Hobson  Richardson, 
architect,  was  completed  in  1877.  It  is  in  the  shape  of  a 
Latin  Cross  with  a  semi-circular  apse  added  to  the  eastern 
arm.  A  central  tower,  211  feet  high,  rises  from  piers  at 
the  crossing  of  the  nave  and  transepts.  The  chapel  is  con- 
nected with  the  main  structure  by  an  open  cloister.  The 
extreme  width  of  the  church  is  121  feet;  the  extreme  length, 
160.  The  material  employed  in  the  body  of  the  structure 
is  Dedham  granite,  with  brown  freestone  trimmings,  and 
it  is  roofed  with  red  tiles.  The  porch,  shown  in  the  small 
view  on  page  9,  was  contemplated  in  Mr.  Richardson's 
original  design,  and  was  added  in  1897-8  from  his  sketches, 
by  his  successors,  Messrs.  Shepley,  Rutan  &  Coolidge  of 
Boston. 

Henry  Hobson  Richardson  was  born  in  Louisiana  in 
1838.  He  was  educated  at  Harvard,  and  matriculated  in 
1859,  ana-  immediately  after  his  graduation  went  to  Paris  to 
study  architecture.  A  year  later  he  was  admitted  to  the 
Ecole  des  Beaux-Arts,  studying  in  the  atelier  of  Andre. 
During  the  war  his  father  lost  his  property,  and  Richardson 


was  forced  to  support  himself  by  working  as  a  draughtsman 
in  the  offices  of  French  architects;  and  it  was  only  in  1865 
that  he  returned,  and  chose  New  York  as  the  place  in 
which  to  try  his  fortunes.  His  first  commission,  won  in 
competition  for  the  design  of  a  church  in  Springfield,  Mass., 
came  to  him  only  after  he  had  been  a  year  at  home,  but 
this  brought  other  work:  and  by  1866  he  was  fairly 
launched  in  professional  life.  In  1867  he  entered  partner- 
ship with  Charles  Gambrill  in  New  York.  After  the  dis- 
solution of  this  partnership  in  1878,  he  removed  to 
Brookline,  Mass.,  and  there  he  remained  until  his  death 
in  1886. 

The  Congressional  Library,  Washington.  In  1873 
Congress  passed  a  bill  inviting  plans  in  competition  for  the 
proposed  building,  and  those  of  Messrs.  John  L.  Smith- 
meyer  and  Paul  J.  Peltz,  both  of  Washington,  were  selected. 
But  between  the  years  1874,  when  they  were  officially 
recognized  as  architects  of  the  building,  and  1886,  when 
Congress  finally  appropriated  money  to  begin  it,  they  had 
to  endure  great  political  pressure,  and  their  plans  under- 
went many  modifications  and  improvements.  Finally  in 
1886,  after  a  bitter  fight,  they  were  installed  as  architects  of 
the  new  building.  Before  the  structure  had  risen  above 
the  foundations,  however,  a  new  act  of  Congress  repealed 
ail  that  had  previously  been  legislated  about  the  building, 
and  put  its  construction  under  the  sole  control  of  the 
chief  engineer  of  the  army,  General  Casey.  Mr.  Smith- 
meyer  was  discharged  as  architect,  but  his  partner,  the 
artistic  member  of  the  firm,  Mr.  Peltz,  was  retained.  In 
the  spring  of  1892,  when  the  structure  had  reached  little 
more  than  half  its  intended  height,  Mr.  Peltz's  connection 
with  the  work  ceased;  and  he  was  succeeded  by  Mr. 
Edward  P.  Casey  of  New  York,  who  continued  as  archi- 
tect of  the  building  until  its  completion  in  February,  1897. 
The  library  is  470  feet  long  and  340  deep,  and  occupies, 
exclusive  of  approaches,  three  and  three-fourths  acres. 

Columbia  University  Library  was  completed  in  1898. 
The  architects  are  Messrs.  McKim,  Mead  &  White,  who 
have  been  referred  to  above. 

Trinity  Church,  New  York  City,  was  finished  in 
1848.  Richard  Upjohn,  its  architect,  born  at  Shaftsbury, 
Eng.,  in  1802,  was  given  a  common-school  education, 
and  afterwards  apprenticed  to  a  builder,  and  engaged  in 


st.  Patrick's  cathedral,  facade        new  york  city 


T H  E    BROCHUR E    S  K  R  I  E  S 


l9 


st.  Patrick's  cathedral,  interior      new  york  city 


this  occupation  until  1829,  when  he  emigrated  to  America, 
settling  in  New  Bedford,  Mass.  Here  he  pursued  his  trade 
until  1833,  when  he  went  to  Boston,  and  made  some  archi- 
tectural drawings  for  a  city  court-house.  He  thereafter 
continued  the  practice  of  architecture  with  increasing  repu- 
tation, until,  in  1839,  he  was  called  upon  to  rebuild  Trinity 
Church,  New  York,  which  work  gained  him  a  national 
reputation  as  a  church  architect. 

Madison  Square  Garden,  New  York  City,  McKim, 
Meade  &  White,  architects,  is  465  feet  long  and  200  feet 
wide,  and  its  walls  are  65  feet  high.  The  roof  is  nearly 
flat,  but  the  sky-lines  are  broken  by  a  colonnade  which 
rises  above  the  roof  at  the  Madison  Square  Avenue  end, 
and  extends  along  either  side  for  100  feet,  by  six  open 
cupolas  with  semi-spherical  domes,  which  rise  above  the 
colonnade,  by  two  towers  at  the  Fifth  Avenue  corner,  and 
by  a  great  square  tower  which  rises  from  the  Twenty-sixth 
Street  side  with  its  lines  unbroken  for  249  feet,  and  then  in 
a  series  of  open  cupolas.  Along  the  Madison  Avenue  end, 
and  extending  along  either  side  for  a  distance  of  150  feet  is 
an  open  arcade,  which  covers  the  sidewalk,  and  the  roof  of 
which  rests  upon  pillars  of  polished  granite  and  piers  of 
brick.  The  top  of  the  arcade  is  laid  out  as  a  promenade. 
On  the  top  of  the  tower  is  poised  a  heroic  figure  of  Diana, 
332  feet  from  the  sidewalk,  designed  by  St.  Gaudens.  The 
materials  of  the  building  are  buff  brick  and  terra-cotta.  It 
was  completed  in  1890. 

St.  Patrick's  Cathedral,  New  York  City,  was 
opened  in  1879,  although  the  spires  were  not  finished  until 
1887.  Built  of  white  marble,  its  main  dimensions  are: 
length  306  feet,  breadth,  including  chapels  120  feet,  length 
of  transepts  140  feet,  height  of  nave  108  feet.  The  princi- 
pal front  on  Fifth  Avenue  consists  of  a  gable,  156  feet  in 
height,  flanked  by  twin  spires,  330  feet  high.  James  Ren- 
wick,  the  architect,  was  born  in  New  York  City  in  181 8. 
At  the  age  of  sixteen  he  graduated  from  Columbia  College, 
and,  following  an  inherited  taste,  entered  the  engineering 
department  of  the  Croton  Aqueduct.  His  training  in 
architecture  was  entirely  self-acquired.  He  early  mani- 
fested a  fondness  for  the  Gothic  style,  and  as  there  were 
then  no  Gothic  buildings  of  merit  in  America,  his  knowl- 
edge of  it  was  derived  entirely  from  books.    With  such 


scanty  preparation  he  designed  Grace  Church  in  New 
York.  Later,  Mr.  Renwick  travelled  in  Europe,  and 
became  still  more  impressed  with  the  beauty  of  Gothic 
architecture.  In  1858  the  corner-stone  of  St.  Patrick's 
Cathedral  was  laid,  and  it  was  mainly  through  this  church 
that  his  reputation  as  an  architect  was  established.  It  was 
his  life  work ;  he  regarded  it  as  his  favorite  child,  and  never 
ceased  to  grieve  that  his  original  plan,  which  contemplated 
a  central  lantern  and  a  chevet,  and  which  would  have 
covered  the  entire  block  between  Fifth  and  Madison  Ave- 
nues, had  been  cut  down  for  reasons  of  economy.  Mr. 
Renwick  died  in  1895. 

"  Biltmore  House, "  at  Biltmore,  N.C.,  the  resi- 
dence of  Mr.  George  Vanderbilt,  was  completed  in  1897. 
Its  main  general  dimensions  are,  152  by  373  feet.  Indi- 
ana limestone  was  used  in  its  construction. 

Richard  M.  Hunt,  its  architect,  was  born  in  Brattleboro, 
Yt.,  in  1827.  He  graduated  from  the  Boston  High 
School  in  1843,  and  in  the  same  year,  having  already 
chosen  his  profession,  he  went  to  Europe.  In  1845  he 
entered  the  atelier  of  Hector  Lefuel  in  Paris,  and  for  nine 
years  pursued  his  studies  at  the  Ecole  des  Beaux-Arts.  In 
1854  his  patron  having  been  put  in  charge  of  the  new  work 
on  the  Louvre,  Hunt  was  appointed  inspector,  and  under 
Lefuel  designed  the  Pavillion  de  la  Bibliotheque.  I  n  1055 
he  returned  to  New  York,  and  began  his  American  career, 
toward  1870  taking  up  the  class  of  work  by  which  he  is  best 
known.    He  died  at  Newport  in  1895. 

The  third  and  present  City  Hall  of  New  York  City 
was  projected  in  1802,  when  a  premium  was  publicly  offered 
for  the  best  design.  The  award  was  given  to  Messrs. 
Mangin  (a  Frenchman)  and  Macomb,  —  architects  con- 
cerning whom  very  little  authentic  information  is  obtainable. 
It  was  finished  in  1812.  The  corner-stone  of  the  building 
was  laid  by  Mayor  Edward  Livingstone. 

The  building  consists  of  a  central  structure  of  two 
stories  and  an  attic,  surmounted  by  a  cupola,  and  two 
wings  of  two  stories  each.  The  architects'  original  design 
provided  a  pediment  for  the  base  of  the  cupola,  showing 
the  city  arms  and  bas-reliefs.  Tbe  City  Hall,  when  cross- 
sectioned,  north  and  south,  resembles  the  Register  office  in 
Edinburgh,  designed  by  the  Brothers  Adam.  The  front 
and  sides  are  of  white  marble,  with  brown  freestone  base- 
ment. Freestone  was  used  for  the  rear  because  the  building 
then  stood  so  far  out  of  town  that  it  was  thought  not  worth 
while  to  build  it  of  marble.  A  broad  flight  of  steps  leads 
from  the  south  to  an  Ionic  colonnade.  The  cupola  is  sur- 
mounted by  a  statue  of  Justice. 


CITY  HALL  NEW  YORK  CITY 


THE  BROCHURE  SERIES. 


The  Handiness  of 

"A  Sailor's  Chest  with 
Everything  on  Top" 

does  not  exceed  that  of  the  Boynton  Ranges,  which 
are  operated  from  the   front,  leaving  the  ends  clear. 

The  single  oven  ranges  are  all  made  with  right  or 
left  fire  boxes ;  no  running  of  water  pipes  to  boiler 
behind  the  range. 

The  range  sets  back  close  to  the  wall  or  chimney, 
and  leaves  some  room  in  the  kitchen  for  windows  and 
furniture. 

Xo  scrubbing  the  floor  under  it. 

Occasionally,  the  client  likes  to  dine  without 
having  previously  detected  the  odor  of  his  dinner  at 
the  front  door. 

For  such,  a  separate  vent  flue  in  the  chimney  with 
ventilator  and  canopy  over  the  range  will  prove  a 
beneficence. 

The  Boynton  range  is  made  for  the  house ;  the 
house  need  not  be  built  to  suit  the  range. 

Boynton  Ranges  can  be  set  in  fireplaces. 


Boynton  Furnace  Co. 

New  York  Chicago 


THE  BROCHURE  SERIES. 


Pictorial  Proof 

of  the  beauty  and  practical  worth  of 

Cabot's  Creosote  Shingle  Stains 

is  given  in  all  our  advertisements.  The  houses 
shown,  designed  by  architects  of  taste  and  experi- 
ence, are  all  Creosbte-stained,  and  furnish  the  best 
kind  of  guarantee  of  their  excellence  and  value.  For 
inexpensive  or  costly  houses  they  are  equally  good, 
giving  the  most  artistic  and  durable  results  a't  lower 
cost  than  any  other  method,  and  "Creosote  is  the 
best  wood  preservative  known." 

Send  for  Stained  Wood  samples  and  litho-water-color  chart 
of  combinations. 

SAMUEL  CABOT,  Sole  Manufacturer,  70  Kilby  St.,  Boston,  Mass. 
Agents  at  all  Central  Points. 


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or  amas  mure  wrm  x>»  wo.  * 
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u»c  to  nt  amjcTOR  «c  tuat««  nut  kohmid  n  nw  uncm.  1 
o  Ji-  r.  66'  M  tit.  MBT  MM  Tie  voj.  MH  T  s.--^'  0  c 

i  AtEutxrt  aw  u«tjm  nu.  or 
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rxtir  BOTTtM  i*wr«  i  <j*ryfy  MX  M  n*  0MU3 ;  But  n  ocv  mmrc 

OR  3TANPTC  CUTTITO  TIC  dTTER  O  mHJ  5CT  OR  A  XCfL,  TO  T!C  OTBD" 

L  WTT5TK  POrrr  or  vcw. 
sove  A"«C!«Trj.Ti  ccycx  lake  cutters  to  prevent  cuxch;  wttk  skw 

AM0  CI ;  BUT  TIC  AWWTAfiC  O  KW5TTUL.  AS  A  LARCE  CUTTER  CLOU  ALMOST  O 
OUCRTr  A3  A  3MAU.  Oft  A-O  TH«  OLT  HWC«  X«E  S.O*V. 
CONDUCTORS  0R°D0M1  STOATS  OUTSCC  Or  BASICS  SOUS  K  Or  TM,  CALWKZED 

wi,  o=.  ewer,  ass  ■  mam  bjs-i 

OCTAX-tM.  R4TICR  TWX  «•»•  n  srm 


.•ox       as. ;«        5-^:  TT^f.»orTA 


PLATE  XXIV 


g  Details  of  Building  Construction 

By  C.  A.  MARTIN 
Ass't  Prof,  of  Architecture,  Cornell  University 

Every  Draughtsman  should  have  it 

33  Plates,  7x9  inches,  on  paper  10x12^ 
Substantially  bound  in  cloth,  $2.00  postpaid 

I  Bates  &  Guild  Co.,  Pubs.,  Boston,  Mass.  1 

§PnQpppppppQOQnQnQQnflnQnnQPnnQQQnQQQQQQQQQQQflQQQ* 


THE  BROCHURE  SERIES. 


Henry  Paston  Clark.  Architect,  Boston. 


Dexter  Brothers' 
English  Shingle  Stains 

are  the  standard  of  excellence.  Used 
by  the  leading  architects.  Special 
shades  compounded  if  desired. 

Dexter   Brothers,  Sole  Manufacturers, 

55  and  57  Broad  Street, 
BOSTON. 


The  Library  of 

Columbia 

University 

One  of  the  prominent 
buildings  finished  with 

Supremis  Floor  Finish. 


d  IDDP~I^/IIC  Slves    a    handsome  finish,   one    that    is  remarkable  for  its 
I%LItII^  durability,  and  the  little  care  required  to  keep  it  in  good  order. 

Send  for  our  booklet  —  ""Che  'CfCatlTICTIt  of  f^OOrs" — the  most  complete  treatise  ever  issued. 

WHITE  ENAMELITE  — an  enamel  paint  for  Colonial  Interiors. 
SHIPOLEUM  —  for  standing  finish. 

These  give  a  beautiful  finish  and  are  extremely  durable. 
Sample  panels  sent  to  Architects  and  Builders  on  application. 
Correspondence  Solicited. 


Chicago  Varnish  Company, 


Dearborn  and  Kinzie,  CHICAGO 
215  Pearl  Street,        NEW  YORK 
Pearl  and  High  Sts.,  BOSTON 


Established  1865 


SILVER  LAKE  "A"   labelled  hanks 

A  Safe  Specification 
For  SASH  CORD. 

THIS  IS  THE  BEST  CORD  THAT  CAN  BE  MADE. 


THE  BROCHURE  SERIES. 


THIRD  EDITION 


THE 

Colonial  Architecture 

OF 

MARYLAND 
PENNSYLVANIA  AND 
VIRGINIA. 

Photographed  and  Arranged  under  the  direction  of 

Joseph  Everett  Chandler,  Architect. 


The  continued  favor  with  which  this  collection  of  plates  (which  has  now  been  out 
of  print  for  several  years)  has  been  received  since  the  issue  of  the  first  edition,  and  the 
increasing  interest  in  the  architecture  and  all  that  pertains  to  the  life  of  the  American 
Colonial  period,  have  prompted  a  new  edition  of  the  book. 

Among  the  many  buildings  of  historic  as  well  as  architectural  interest  in  the 
three  States  the  following  are  represented:  "  Homewood,"  Baltimore;  the  Chase,  Scott, 
Ridout,  and  Brice  houses,  Annapolis;  "Whitehall"  and  the  Wilson  house,  Maryland; 
the  old  stone  mansions  of  "  Cliveden "  and  "  Upsal,"  and  the  Dunston  and  Bockiss 
houses,  Germantown ;  the  Arnold  house  and  "  Woodfern,"  Philadelphia;  the  University 
of  Virginia  designed  by  Thomas  Jefferson,  lately  destroyed  by  fire;  "  Gunston  Hall," 
"  Westover,"  "  Monticello,"  "  Farmington,"  "  Shirley,"  and  other  mansions  of  Virginia; 
the  Court  House  at  Williamsburg;  and  a  number  of  other  examples. 

The  50  plates  are  from  original  negatives,  printed  on  fine  plate  paper  by  the  alber- 
type  process,  on  sheets  12  x  16  inches,  enclosed  in  a  handsome  portfolio. 

The  work  is  especially  suitable  for  a  holiday  present. 

PRICE  IN  PORTFOLIO,  EXPRESS  PREPAID,  $12.00. 


BATES  &  GUILD  COMPANY,  PUBLISHERS, 

13  EXCHANGE  STREET,  BOSTON. 


THE  BROCHURE  SERIES. 


We  make  the  Best 

Adjustable  Draughting  Table 


on  the  Market. 


3  Styles.   7  Sizes.     Prices  Right.    Catalog  Free. 

G.  Alexander  Mfg.  Co., 30  '""^IITr^s,  mi*. 


ABSOLUTELY 


White  Terra  Cotta 


OF  THE  VERY  BEST  QUALITY. 


A  most  appropriate  material  for  handsome 
fronts,  or  libraries  in  Classic  or  Renaissance  style. 

Limestone  and  Other  Shades  made  to  order. 
All  goods  vitrified  to  withstand  elements. 

White  Brick  &  Terra  Cotta  Co., 

156  Fifth  Avenue,  New  York  City. 


CARTER'S  DRAWING  INK 


Superior  quality  combined  with  convenience 
and  utility  of  package.    25  cent  bottle  free, 
if  you  have  not  tried  the  ink. 

CARTER'S   INK   CO.,  BOSTON,  MASS. 


'ash  Locks 


LOCK 


THE  WINDOW. 


RATTLE.C  OLD  f\  I  IT 
AND  DUST    VV  I 

SIMPLE,  DURABLE,  SAFE. 
SOLD  BY  HARDWARE  DEALERS  EVERYWHERE 

TRIAL  SAMPLE  FREE 

THE  W.&E.T. FITCH  CO. NEW  HAVEN.CONN. 


Cleveland 

Joist  and 

Wall 
Hangers* 


WRITE  FOR  BOOKLET. 


MADE  BY 


Van  Wagoner  &  Williams  Hdw.  Co, 

CLEVELAND,  OHIO. 


NEW   YORK   OFFICE,    14   WARREN  STREET. 


The  Laughlin=H,ough  Patent  Drawing  Tables. 


Drawing 
Made  Easy 
for  the 


STUDENT. 


STYLE  M.   STUDENTS'  TABLE. 

The  table  is  designed  for  Mechanics  and  Students  and  can  be  placed  on  a  table  or  any  convenient 
place.  It  will  take  on  a  sheet  of  paper  18x23  and  smaller.  It  has  a  mahogany  straight-edge,  box- 
wood side  scale.  Celluloid  protractor  and  12-inch  scale;  paper  fasteners,  adjustable  900  stops  and 
other  attachments.    It  is  made  of  oak,  and  is  very  convenient  for  portability.     Price,  $12.00  net. 


It  is  to  Drawing 
what 
Shorthand 

is  to 
Writing. 


A  GREAT  AID  TO  STUDENTS. 


Laughlin=Hough  Company, 


Send  for  Illustrated  Catalogue. 

30  Broad  Street,  NEW  YORK. 

Real  Estate  Trust"  Co.  Building,  PHILADELPHIA. 


The  Folsom  Snow  Guard  Company 

U6  SOUTH  STREET,  BOSTON,  MASS. 


New  England  Agents 

FOR 

WILSON'S  BLINDS,  PARTITIONS  ^  SHUTTERS 

MANUFACTURERS  OF 

The  Folsom  New  Model  Snow  Guard. 

An  absolutely  safe  snow  guard.  Under  no  conditions  can  its  use  injure  the  roof  in 
any  way.  This  is  a  point  to  consider.  Be  sure  that  the  snow  guard  you  specify 
will  protect  and  not  injure  the  roof.  Further  information  can  be  obtained  by 
corresponding  with  us. 

These  Snow  Guards  are  specified  by  Leading  Architects  Everywhere. 


Also  Makers  of  the  Shull  Overhead  Pulley. 

An  improved  sash  pulley  that  possesses  many  advantages  over  the  old  style  side  pulley. 


Full  information  concerning  these  goods  upon  request. 


